Emma Sokoloff-Rubin – Foreign Affairs, 07/01/2013
In 1983, almost 30 years before Brazil inaugurated a truth commission to investigate the crimes of a brutal military dictatorship, seven college students put their lives on stage. The dictatorship was on the verge of collapse, but military rule was all this group had ever known.
Júlio Conte and his friends were studying theater in Porto Alegre, a city in southern Brazil. They had learned to be careful about what they said aloud. In their lifetime, nearly 500 Brazilians had been killed and 20,000 tortured by the government. Conte was tired of waiting for democracy. “Being censored makes you fight to speak,” his friend Flávio Bicca Rocha said in a recent interview.
The students captured the uncertainty and hope in Brazil at that moment by telling their own stories in a play, Bailei na Curva. The title, which means “I danced in the curve,” is slang for someone who has gotten hurt or lost his way. One of Bailei’s main characters, whose father is abducted by the military police, meets the same fate later in the play. Other characters try to make sense of their parents’ collaboration with the military, and all of them struggle with the gap between what they hear on the radio and the reality they see.